22-26 July 2009,       Kapolcs, Kossuth Lajos utca 55


The Newkapolcs Gallery” project (1991-1995), holonically (as a whole and a part) organised in György Galántai’s house was an important part in the 30-year-long history of Artpool. The prolonged renovation of the house was finished in 2009, and, to celebrate this, the house appears in the exhibition with an integral approach as a holonic memori/al in the exhibition space opening from the street.

Artpool/Kapolcs memori/al
the holonic memorial is the power generator of the memori/al

The strength of holonic organisation, or holarchy, is that it facilitates
the generation of extremely complex systems.


[...] Snapshots is an hour-long loop that presents different runs of the same genetic algorithm working directly on sampled sounds. [...]

[...] The art which most directly does this is the one which allows this immediacy, with a minimum of distractions. [...]

[...] The process applied to create these pieces was always directly supervised by the artists themselves, and the same artists often made painterly interventions by hand during or directly after their printing. [...]

[...] Happening is no longer the art of voyerism that lets art be at the mercy of the shortsighted but the art of participation which introduces the looker directly into the event. [...]

[...] These documents are, for the most part, texts coming directly from the artists; only few of them are written by art critics. [...]

[...] In addition, he continues, the Greek 'arkheion', - which connects 'arkhe' directly to the Latin 'archivum' - was the private house of the 'archons' in ancient Greece. [...]

[...] His mailings include originals, copies of originals, and copies of copies, thanks to the photocopier and sometimes the offset press; however, a particular mailing conveys its message, directly or obliquely, regardless of the fact that it contains original drawings or statements, or copies of work, old or new. [...]

[...] We can deny the authority of the traditional art world, because mail artists directly exchange their own artworks. [...]

[...] I will do so abundantly and lovingly, to be of service to anyone and everyone I can, but in particular for those wonderful people, living and dead, real and imagined, who have directly, indirectly and anonymously enriched my life with their own generous, abundant loving acts of kindness. [...]

[...] To oversimplify the matter, we could say three “trends” existed in the early seventies: the first was expansive, of a sociological character, sensitive to “fate,” directly or indirectly reacting to political influence, employing the tools of conceptualism and performance, with strong affinities towards film and theatre. [...]

[...] In our concrete case this meant that the two to five people who directly participated in the action were escorted by a line of policemen that was at least ten or twenty times as many as the number of the demonstrators. [...]

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